Critic Reviews for Ossessione
Ossessione, which also began the late Mr. Visconti's remarkable film career, may be slow-going to the uninitiated, but its historical importance is not to be denied.
The film holds up well today, both as a murder story and as a slice-of-life.
Luchino Visconti's first solo effort and the first great Italian neorealist film.
The raw warm poetry of Ossessione has nothing to do with neo-realism; the film is unencumbered by ideology and political commitment.
Ossessione is the fully achieved work of a matured artist, and in the last analysis it heralds nothing but the oracular career of one of the very greatest of the elect in that still small clutch of film masters.
Audience Reviews for Ossessione
Visconti's directoral debut is a cinematic milestone both in noir and neo-realism. Brilliant adaptation of The Postman Always Rings Twice, depicting the descent of two lonely souls into lust, avarice, and desperation. The use of light and shadow emphasize the character development. The finale is one of the most ironic scenes in film history (omitted from the american versions).
Massimo Girotti is the handsome young drifter who falls for the beautiful wife (Clara Calamai) of a roadside restauranteur. Through a progression of lust, adultery, envy and obsession we witness the spiraling decline of morality and the untimely death of one unsuspecting husband. Viewed with an 'American eye', Ossessione seems a bit long-winded and meandering but Visconti's telling is nothing short of remarkable. The director's command of light and camera angles enables him to set a dark mood that is as much a tangible presence as any of the film's characters. A tragic tale masterfully told.
Wow, made in Italy in 1943, smack in the middle of WWII - this movie is fiendishly great - sucks you right in. Also, was this Massimo Girotti fellow ever on a Smiths cover? Cuz he freakin should have been. Great exterior street scene shots - w/ wonderful fluid camera movement.
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